Goddess Saraswati without Veena: Pallava, Chola Era Sculptures Reveal Earlier Iconography

In the Gangaikondacholapuram temple’s Arthamandapam, right next to the sanctum sanctorum, stands an unusual image of the goddess Saraswati – one that is remarkably devoid of the veena, the musical instrument now considered her defining attribute.

The deity seated in padmasana with four arms is identified as Saraswati by the suvadi (manuscript) she holds in one hand and the akka mala (rudraksha rosary) in the other. The remaining two hands hold ankusha (point) and pasha (noose), iconographic elements rarely associated with conventional representations of the goddess.

“It is one of the war trophies brought to Tamil Nadu after the Cholas’ northern campaign. The painting originally belonged to the Pala dynasty,” says R. Komagan, chairman of the Gangaikondacholapuram Development Council Trust.

Historian Kudavasal Balasubramanian in his book Rajendra Cholan – Victory, Capital and Temples also identifies the sculpture as part of the artistic tradition of North India.

Idol of Goddess Saraswati in the outer prakaram of the Brahadeshwarar temple in Gangaikondacholapuram Photo Credit: R. Vengadesh

“She wears a crown, kundalams in her ears and ornaments on her neck, chest, shoulders, arms and legs. It is completely different from the Saraswati images carved in Tamil Nadu and represents a North Indian style. It could be one of the war trophies brought by the Chola kings,” he writes.

Pala Saraswati is not the only depiction of the goddess in Gangaikondacholapuram without veins. The temple is also home to the famous Gnanasaraswati, one of the masterpieces of Chola sculpture, which is located on the walls near the steps leading to the Arthamandapam. Like the Pala image, this sculpture depicts the goddess without a veena, suggesting that the instrument only became a standard attribute of Saraswati at a later stage of iconographic development.

According to Lalitharam of Visamayam, an organization that creates replicas of exquisite Pallava and Chola sculptures, Gnanasaraswati of the Chola era is seated on a lotus with her hair arranged in an elaborate jata makuta. She is richly decorated with necklaces, shoulder ornaments, bangles and makara kundalams.

Instead of a veena, she holds a suvadi in one hand and an akka mala in the other, underscoring her identity as an embodiment of learning and spiritual wisdom. Of the remaining two hands, one carries a kundigai (kamandalu), while the other is depicted in the tarjani mudra—a rare and striking gesture in Saraswati iconography.

Goddess saraswathi idol in inner prakaram of airavatesvara temple in darasuram near kumbakonam | Photo credit: R. Vengadesh

While Mr. Komagan believes that the Pala Saraswati may have inspired the Chola sculptors who created the Gnanasaraswati, there is no epigraphic or archaeological evidence to conclusively establish such a connection. The absence of a veena, however, is not unique to Gangaikondacholapuram.

Dr. R. Kalaikovan, founder of the Center for Historical Research Dr. Rajamanickanara, points out that the Saraswati sculptures of the Pallava and Chola periods also lack this instrument.

“The Saraswati statues in the Kailasanathar temple are without a veena. One deity has a suvadi and an akka mala in two hands, while the other two hands are damaged. Another statue carries a kundigai or kamandala,” he said.

He explained that the akka mala and kundigai are traditionally associated with Brahma, the creator God, and Saraswati, worshiped as his consort, is therefore depicted with these attributes.

“Even the Saraswati sculptures in the Brihadisvara temple and the Sadaimudinathar temple in Tiruvalanchuzhi are without veena. The Gnanasaraswati in Gangaikondacholapuram is particularly significant for the tarjani mudra, a menacing gesture which is very unusual in Saraswati depictions,” he said.

The image of Saraswati in the Brihadisvara temple has suffered extensive damage to its right hand, making it impossible to determine what attribute it originally held.

Idol of Goddess Saraswati in outer prakaram of Peruvudaiyar Temple (Great Temple) Thanjavur | Photo credit: R. Vengadesh

Another important example is found in the Airavatesvara temple where Saraswati closely resembles the Gangaikondacholapuram statue. The Darasuram and Gangaikondacholapuram paintings depict the goddess with her torso exposed, while the Thanjavur sculpture shows her with her chest partially covered.

Although it is difficult to pinpoint exactly when the veena became a defining attribute of Saraswati, sculptures from Hoysala period temples often depict the goddess holding the instrument, often in graceful dancing poses. Sanskrit literature contains references to Saraswati with a veena. Saraswati and the veena are inseparable in Ravi Varma’s paintings.

Interestingly, the presiding deity at the Koothanur Saraswathi Temple – one of the few temples in India dedicated solely to Saraswati – is also toolless. According to temple inscriptions, the shrine was renovated during the reign of Kulothunga Chola II and is traditionally associated with the Tamil poet Ottakoothar, after whom the village derives its name.

“The presiding deity is seated on a lotus and carries mudra, suvadi, akka mala and kundigai. Saraswati depicted on many temple walls with a veena represents a form of Sangeetha Swaroop belonging to the later iconographic tradition,” said temple priest Sundar Gurukkal.

Taken together, the sculptures at Kancheepuram, Thanjavur, Gangaikondacholapuram, Darasuram, Tiruvalanchuzhi and Koothanur point to important developments in Saraswati iconography. Earlier representations in South India consistently emphasized her role as a goddess of knowledge, learning and spiritual wisdom through attributes such as the manuscript, rosary and kamandala. The veena, now considered inseparable from Saraswati’s identity, did not emerge as her dominant symbol until a later period.

Published – 8 Jul 2026 06:30 IST